Mona Mansour’s script is a literary triumph. Woven into an exceedingly complex plot are the words of Greenleaf Whittier and Wordsworth, luminous threads of gold.
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For this template to work there are two requirements: You must be funny, and you must be truthful. Alison Leiby’s show is ‘millennial’ funny and the truths exposed are not the ones intended.
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The most significant correspondence to survive the Krakow Ghetto is the source material for Karen Hartman’s ‘The Lucky Star.’
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There are no victims here. The women do not want your pity. They want to be seen in all of their beautiful, tragic humanity.
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The deterioration of New York City’s subway system shows us what happens when we confuse “social justice” for justice.
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Alex Edelman’s “Just for Us” is catalyzing an off-Broadway renaissance by giving us what Broadway isn’t: original material, heterodox thought and face-to-face conversation with those who scare us.
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